Art and Design
Siuru by Bond
Estonia’s Siuru plays with important questions, subverting and, at the same time, fulfilling expectations. Is it an art museum? A library? A cinema? Or a cultural institution? For a Bond (Veikkausliiga, Saaristo, Cable Factory) the design studio in charge of developing a brand identity for Siuru, this raised the concern, how do you brand something that seeks not to be characterised...
Sustana by Collins
For non-design nuts or print nerds, paper might seem pretty high up in the scale of banality and boringness. That’s likely the reason that the Wernham Hogg paper company was the setting of The Office: paper, and Slough, formed an easy sitcom shorthand for all that was unremarkable, trivial, and emphatically dry. But in fact, there’s a lot more to...
PAC NYC by Porto Rocha
There have been some brilliant logo designs inspired by the very buildings they represent. The Centre Pompidou, for instance, bears a powerfully stark logo that’s been largely unchanged since it was first created in the 1970s: six black stripes crossed by two zigzags representing the site’s ‘caterpillar’ escalator, one of the most famous parts of Renzo Piano and Richard Rogers’...
Beams by Only Studio
The Beams is ‘an expansive new venue and event space on the Royal Docks in the heart of East London’ (that’s as long as you prefer your cartography loosely impressionist). Manchester-based Only Studio was tasked with branding the former Tate & Lyle sugar factory. The award-winning agency has previous form in the field of London industrial-eyesores-turned-cultural-juggernauts: it was also responsible...
GUT by &Walsh
Guts aren’t exactly glamorous. And the connotations of the word ‘gut’ are multifarious: there’s the gory (‘blood and guts’); the Germanic ‘good’; the straightforwardly corporeal; or for those with an interest in newer psychological findings, it’s a wondrous ‘second brain’. Ad agency folk, however, have long taken the word ‘guts’ far outside of the bodily. For many of them, ‘guts’...
National Portrait Gallery by Edit Brand Studio
In June 2023, a giant of British cultural life awoke from a three year slumber. The return of the National Portrait Gallery evokes a joy that is made all the keener when one recalls the troubled time in which it closed its doors: March 2020, as the COVID-19 pandemic took hold and public life evaporated in the announcement of that...
Whale Tales by Interbrand
Every year an impressive 40,000 humpback whales travel along the Sydney coastline. This annual migration pattern is one of the many awe-inspiring natural spectacles that make the city so unique. It is fitting then, that the New Sydney Waterfront Company chose to revitalise Sydney’s Western Harbour Precinct with an installation of thirty whale tail sculptures, telling thirty individual stories, or...
LCBA by Studio Bergini
Not a new project, but a lovely one nonetheless; it seems there couldn’t have been a more perfect fit for London Centre for Book Arts than Studio Bergini when it was looking for a design team to task with creating its new visual identity. Formed by two Central Saint Martins grads – Norwegian Kristian Hjorth Berge and Italian Francesco Corsini (hence...
ARTIST | WORK | LISSON by Irma Boom
It’s rare that an art book comes with a personal story. As we ease ourselves into this new strand of the Voices column and as we begin to get to know each other, let me share one with you. I first discovered ARTIST | WORK | LISSON on a shelf in the office at Whitechapel Gallery and thought it was...
Eames Institute by Manual
American industrial designers Ray and Charles Eames fundamentally believed that good design should be available to everybody. It’s ironic, therefore, that today – in part due to institutional bodies, galleries, collectors and capitalism – their work has been elevated far beyond the reach of the common person. Design that was supposed to be accessible has become a symbol of taste,...
Crane by Collins
In 1775 Crane paper was used to print the first money for the American colonies, and by 1801 the company was the primary paper producer for local and regional banks. Later that century, equipped with an arsenal of innovative techniques from Europe, Crane won a contract with the Bureau of Engraving and Printing and became the supplier for the US...
The Art Gallery of New South Wales by Mucho
The Art Gallery of New South Wales, founded in 1872 as the New South Wales Academy of Art, suffered from a fragmented brand architecture. Addressing this through a rationalised and simplified system, and reinforcing the master brand across all Gallery collateral became a central part of developing of a new brand identity which would support a repositioning strategy that moved...